Mixing device



Oct. 24, 1933. F. A. HoscHKE v1,932,313

MIXING DEVICE- Filed Dec. \4, 1931 4 Sheets-Sheet l WITNESS v 08C e,

BYMT.

ATTORNEY 01.`24, 1933. F, A HOSCHKE 1,932,313

MIXING DEVICE Filed Deo. 4, 1931 4 Sheets-Sheet 2 INVENTOR 'A .Hoacike,

f* ATTORNEY WITNESS Oct. 24, 1933. F, A. Hos'cHKE MIXING DEVICE 4Sheets-Sheet 3 ,66 Mmmm i Y I? "z INVENToR FLl?.schl e,

Filed Deo. 4, 1931 BYl ' ATTORNEY Oct. 24, 1933. l F. A. HoscHKEV1,932,313

MIXING DEVICE Filed Deo. 4, 1931 4 Sheets-Sheet 4 INVENTOR WITNESS FAlosch/fe BY ATTORNEY Patented Oct. 24, 1933 UNITED STATES PATENT OFFICEApplication December 4,

16 Claims.

My invention relates to a device for use in producing music, which, forwant of a better term, I designate a mixing device or mixer, and itconsists in the combinations, constructions and arrangements hereindescribed and claimed.

The present invention was disclosed in my prior application Serial No.575,077, filed Nov. 14, 1931. The said prior application was primarilydirected to the process of producing music in which the mixer is used.

Up until now music has only been electrically or mechanically reproducedby the conventional method of having musicians record their performancesupon a light-sensitive film or upon disks or cylinders for a` laterconversion into commercial sound film or phonograph record. K While thepresent used methods of recording and reproducing music may be furtherimproved upon there probably will always remain a number of mechanicaland electrical difficulties that tend to distortion and unnaturalness,involving resonance, tube noises, background, disturbing naturalfrequencies, etc.

Another feature, which in the making of films or other devices forreproducing music, tends to cause unnaturalness, is that owing to forcedtube amplification between the microphone and the film, the wave line onthe latter may be badly distorted. In the present invention I may 0btaina wave line of any amplitude without tube amplification and impurities.

In the case of sound film in the theatre, the task of fitting the musicto the screen-mood in playing time (as must now be done) is difficultand the results unsatisfactory, particularly at transitional pointsWhere` fluency in the change of style of the music would be so much moredesirable.

An object of my invention is to provide a device which will causereciprocatory movements by the use of cams, each having its peripheryshaped in accordance with one or more sound waves of a pre-selectedtone, with means for combining' 1931. Serial No. 579,023

A further object is to provide means consisting of a perforated tapedriven synchronously with the lm and cam actuating means whereby thestopping of the rotation of the cams and the adjustment of the film iseffected automatically or manually.

A further object is to provide additional means for manually startingthe synchronized mechamsm.

Other objects and advantages will appear in the following specificationand the. novel features of the invention will be particularly pointedout in the appended claims.

My invention is illustrated in the accompanying drawings forming part ofthis application, in which:

Figure 1 is a vertical sectionalY view of the mixing device.

Figure 2 is a plan view of the mixing device.

Figure 3 is a fragmentary detail view partly 75 in section of the tonecam assembly.

Figure 4 is a detail view of an automatic start and stop mechanism forthe mixer.

Figure 5 is a detail view of a lever-operating cam.

Figure 6 is a perspective view of a friction disk carrying arm. Y

Figure 7 is a perspective view of a spring holding member.

Figure 8 is an enlarged section on the line 8-8 85 of Fig. 1.

Figure 9 is a diagram showing how one of the cam curves is made.

Figure 10 is a diagram showing how a cam for a violin tone is made, and,90

Figures 11, 12 and 13 are diagrammatic views illustrating modified formsof mixing devices.

As disclosed in my prior application aforesaid,

I make use of three mechanisms or units in producing music, namely anuancer, the mixer which forms the subject of the present invention, anda modied light sensitive cell system. The nuancer and the cell systemare old as far as this particular invention is concerned. The mixerhowever, is new as far as I am aware.

As will be seen in Fig. 1, I provide a base 1, upon which are mounteduprights 2 at each end thereof, bearing a bed-plate 3. This bed-platehas a plurality of standards or uprghts 4 that are slidablelongitudinally, there being one stand- 105 ard for each tone. Secured toone of the end members is an extension 5. A screw shaft 6 extendsthrough athreaded bore in the base 7 and is journaled in a bearing 8.The shaft has a groove 6a into which a pin 6b in the member 8 110extends so as to prevent longitudinal movement of the shaft as it isturned. The shaft 6 has, at one end, a handle 10 which can be turned tomove the upright 4 to the right or left as viewed in Each standard has asimilar construction and means for shifting it as will appearhereinafter.

Each standard 4 has mounted thereon a rocker arm 11 which is slotted, asshown at 12, to receive the shank of a pin 13, a head 14 being providedto hold the arm in position. One end of each rocker arm is provided witha roller 15. A retaining member having a pair of spring fingers 16 iscarried on the shaft 17 which is slidably disposed in the extension 5.The shaft is provided with a flngerhold 18. It is movable toward andaway from the end of the rocker arm and when pushed inwardly the detents16a on the spring arm 16 will engage recesses 11a on the rocker arm 11thus holding the arm stationary. A spring detent 19 at the same timeengagesa recess 20 in the shaft 17 to prevent movement of the shaft. Thereason for this construction will be explained later.

At the opposite end of each rocker arm there is positioned a plunger 21.All of the plungers 21 extend into a common tank 22 containing liquidwhich partially lls the tank. In Fig. 1 I have indicated the level ofthis liquid at X. The tank 22 is divided into individual compartmentsfor the plungers 21 by perforated partitions 22m which prevent unduemovement of liquid other than that effected by the movement of theplungers. At one portion of the tank 22 there is an outlet 23 to acylinder 24 of substantially the same height as the tank. This cylinderis slotted at 25 and contains a plunger 26 having a pin 27 arranged toenter the slot 25 so as to guide the plunger in its movement. The upperend of the plunger is in engagement with a bell crank lever 28 which ispivoted at 29 and which bears on one arm a marking device 30 for makinga wave line on a film 31.

In Fig. 1 I have shown, diagrammatically, a variable-speeddirect-current motor M, the shaft 32 of which is connected with thespeed reduction unit shown diagrammatically at 33. The latter has ashaft 34 which has a pair of pulleys 35 and 36, respectively. The pulley35 has a belt 37 which passes over a pulley 38 on a shaft 39, thusdriving the latter. As will be seen from Fig. 2 the shaft 39 extendstransversely of the rocker arms 11.

Secured to the shaft 39 are pulleys 40 there being one for each tone. Anarm 41 is associated with each rocker arm, one end of this arm 41 beingpivoted loosely on the shaft 39 and the other end bearing a pulley 42rigidly secured to a friction disc 43. A belt 44 passes around thepulleys and 42 to drive the disc 43 for a purpose hereinafter explained.

The pulley` 36 has a belt 45 which drives a pulley 46 on a shaft 47 andon this shaft there is a pulley 48 which is connected by a belt 49 witha pulley 50 that drives a shaft 51. This shaft 51 as will be seen fromFig. 2, also extends transversely of the system of parallel rocker arms.It is provided with a bevel-gear 52 engaging the gear 53 on a shaft 54.The latter bears a film drum 55 which is toothed to engage drive holesin the film 31 and to firmly hold and drive the film and steadilycontrol its movement while it is being marked or photographed. The shaft54 also bears a driving pulley 56 which is connected by a coil springdriving belt 57 with a. pulley 58 on a shaft 59 bearing a take up drum60 for the film. The construction is such that while the belt 57 istight on the pulley 56 it will slip on the pulley 58 so as to keep thefilm taut.

As will be observed from Figs. 1 and 2 the rocker arms 41 pass throughslots 61 in the bed plate. Each arm rests on a spring 62 in order topreserve contact between the friction disc 43 and an associated frictiondisk 63.

There is one driven friction disk for each tone. In Fig. 3 I have shownone of these disks mounted on a sleeve 64 which is held on the shaft 51by means of fixed thrust collars 65 and 66. An anchor collar 67 isplaced on the sleeve, this anchor collar having pins 68 set therein. Atone cam disk 69, see Fig. 5, which is made in two parts, and which isprovided with openings arranged to receive the\pins 68, is slipped overthe pins and moved to a position against the anchor collar. A spacingcollar 70 having similar registering openings is then placed over thepins for spacing the cam disk from the ends of the. arm 41. Each of thefriction disks 63 is provided with bores for receiving the ends of thepins 68. A nut 71 is disposed on the threaded portion of the sleeve asshown in Fig. 3 and when the nut is screwed to the right in Fig. 3 itclamps the cam tone assembly rigidly together, a washer 72 beingprovided between the nut and the friction disk 63. It will be understoodthat there is a cam tone assembly for each rocker arm similar to thatshown in Fig. 3.

Each cam, as stated, is made in two parts so that when the nut 71 is runto the left in Figure 3 and the friction disk 63 with the spacer 70 ismoved from the pins the cam disk and its associated friction disk may betaken out and replaced by a cam disk of another shape corresponding toanother tone and the parts brought together and tightened to hold thecam rigidly. The mechanism thus far described discloses the essentialfeatures of one form of mixing device which may be used in this process.Certain modified forms will be described later.

In Figure 4 I have shown a perforated nuancing 1 tape. The nuancer is arhythm, tempi, nuance, controlling device. The tape 76 passes over aroller 81 having sprocket teeth arranged to enter corresponding openingsin the tape to cause its forward movement. This roller. as will beobserved, is on the shaft 54 and is therefore in synchronism with thefilm and cam actuating mechanism.

The circuit of the motor is closed by an armature 83 of magnet 84. Thelatter is actuated by a battery 85, and has as a portion of its circuit,a spring contact 86 which completes a circuit through the roller 8l, thelatter being of conducting material, when the end of the spring ridesinto an opening 76a. and pulls the armature 83 away from the contactpoint, thus breaking the circuit of the motor and causing the stoppingof movement of all parts driven thereby, including the roller 81. Themotor may be again started to drive the mechanism L and the roller 81 bypressing the key 88, which forces the armature 83 away from the magnet84 against the contact 76, whereupon the roller 81 will be turned untilthe spring 86 reaches the next opening. The motor may also be stoppedman- 1- ually by reverse movement of the key 88.

From the foregoing description of the various parts of the device theoperation thereof may be readily understood.

Let us assume that some orchestral score from L This energizes themagnet 84 15 an opera is to be produced. The first step is to nuance thescore to be produced. This is done in actual playing time and in silenceby the means set forth in my prior application aforesaid and the tape isperforated as described at points corresponding to the beats as aconductor of a symphonic orchestra makes when he wields his baton toimpart to his musicians his interpretive idea. The holes in the nuancingtape 76 are preferably about a quarter of an inch in diameter.

This tape is then run through a device somewhatv similar to that shownin Fig. 4 having a contact like the contact 86 for making a circuit to'lgive a series of clicks of an armature similar to` that shown at 86 thusproducing an audible replica of the recording musicians conducting. Thepurpose of perforating the tape and listening to a rhythmic performanceof the music to be produced is to assure the conductor, at this point,of a good reading of the score before the remaining operations arecarried out. This operation of nuancing upon the paper tape is a mostimportant one, since it is one that gives to the music that is to beproduced that individuality and vitality of performance that a Wellrendered musical production should possess.

The next step is to select the cams corresponding to the tones that areto be produced at the beginning of the score. If thereare a number ofinstruments playing simultaneously, the cams corresponding to thedesired tones of these instruments, such as the violin, the horn, theharp, etc. are taken and those various cams are placed on the shaft 51in the manner already described. If now the shaft 51 is rotated it isobvious that the arms 11 corresponding to the individual tones will beraised and lowered as the cams rotate, dependent upon the cam curves ofthe various cams. The ends of some of the arms nearest the cams may berising or others may be falling and at the opposite end of these armsthe plungers 21 may be falling or rising dependent upon the movementeffected by the cam. The rising or falling of the plungers 21 willoccasion a corresponding rise or fall of the level of the liquid in thetank 22, and the resultant of this rise or fall will be communicated tothat portion of the liquid in the cylinder 24, and will thus cause arising and falling of the plunger 26 and the consequent movement of thedevice 30 which records the resultant wave line on the lm 31.

While I have shown the device 30 as a marking device it will beunderstood that any suitable wave line forming device, such astnat usedin producing a wave line photographically on a lm, might be used withoutdeparting from the spirit of the invention.

In most scores there are certain instruments that are intended to beplayed louder at certain times than other instruments. In order toaccomplish this eiTect in the music to be produced, I may shift thestandard 4, by turning the handle 10, either farther away from the rowof cams or nearer to it. In order to prevent the bodily movement of thearm 11 when its standard or fulcrum is being shifted, the head 18 ispushed inwardly thus bringing the spring fingers into engagement withthe end of the arm as described and holding it, the slot in the lowerfingers clearing the bracket which carries the wheel 15. The screw'13may be tightened to clamp the arm 11 against the standard 4 thusinsuring against movement. The handle 10 is now turned and the fulcrumis moved say to the right in Figure 1. This will tend to make a greatermovement of the plunger 21 and thus will cause a correspondingly greatermovement in the resultant Wave line for the particular tone to beamplified. Thus if it is desired to bring out a flute tone louder thanthe oboe, it may be done by shifting the fulcrum of the armcorresponding to the flute tone in one direction so as to amplify thetone, as described, or to shift the arm which corresponds to the oboetone to be softened, in the opposite direction thus reducing themovement of the plunger 21, corresponding to the oboe tone, and ygivingto the resultant wave line a characteristic corresponding to a softenedoboe tone.

I have described how the lm 31 and shafts 51 and 39 are driven 'by themotor M. The arrangement synchronizes the movement of these parts. Inthe arrangement shown there is an individual arm 41 bearing a drivingfriction disk 43, and a driven friction disk 63 for each tone. Thispermits of individual cams 69 being driven at different rates of speedwhich may be accomplished by selecting friction disks of differentratios or in any other suitable manner. It is essential, however, thatall the moving parts of the apparatus be synchronized.

The duration of movement of any particular tone -must be and is takeninto consideration. Thus, if the score shows a staccato tone themovement must be terminated in accordance. This is done by stopping themovement and releasing the arm which corresponds to the tone. In orderto do this the arm is raised and held by means of the spring fingers 16clear of the cam. It is also held in this position if the cam is to beremoved, that is to say, the cam must be in its highest position inwhich it raises the roller 15 as high as it will go. During the removalof the cam the arm 11 is locked in the manner already described.

Let us assume that in the score the harp plays in arpeggios, or brokenchords. The conductor has previously informed the operator to whatextent this chord should be broken or rolled. Let us assume that thenotes comprising an A at major arpeggiated chord should be played as ifthey were 64ths. The mixer shaft is stopped after the tape and film hasmoved a 64th in notational length or value, which latter is found bydividing an 8th note, as nuanced, into eight equal divisions. The A flatharp rocker is released from the cam (held above the cam by the holdingmeans 16) and the cam for the second note' of the harp chord is engaged,there being no other occurrence or rhythmic point of utterance in thescore. The operations are repeated until the last note of the harparpeggio is finished. If, of course, the conductor had instructed theoperator not todamp the harp tones after they are sounded, the operationof making the harp figure on the film is somewhat different. In suchevent Iinstead of disengaging the rocker from the rst harp tone camafter its time value has elapsed, it is left in engagement While thesecond note of the chord is made, but the upright to the first harp notecam is moved so that the amplitude of its wave becomes less and less inproportion to how a harp tone dies out after it is struck on the realinstrument, and similarly with the remaining arpeggiated harp notes.

I have previously described how the nuanced tape having perforations isrun over a roller with a circuit breaking contact 86 in Fig. 4 whichbreaks the circuit of the motor M. The motor `with the fundamental.

is thus stopped automatically at each nuancing mark.

The operator has before him the score which has been nuanced and thisscore is divided up into periods of time and the various tones thatoccur at any one period and which are to be produced, are provided forby bringing into play those cams which correspond to the tones. This isrepeated step by step throughout the entire score, due considerationbeing given to making the tones louder or softer, as occasion demands,by shifting the fulcrums of the arms 11, as already explained.

The making of a film having on it a musical composition requiring six orseven minutes of playing time, may require from three or four days ofeight hours each of working time. The accomplishment of the mixer withrespect to the number of feet of film marked depends upon a maintenanceof speed of the rocker ends on the cam edges that will not be so fast asto invite distortion in the resultant, by reason of any change in thelevel of the fluid over or under that of the true displacement by theplungers.

In orchestral music, though there is, of course, sustained music, mostof it is much detached, so that the mixer in its operation could becaused to move up during the silent periods at a relatively fast ratewith the rockers disengaged from the tone cams, thereby materiallyreducing the time necessary in making a complete film.

I have spoken of tone cams for particular instruments. The manner inwhich these cams are formed is as follows: Consider for instance middleC as played on a violin string. The fundamental has 256 vibrations persecond, but the tone quality depends not only on the fundamental, but onthe various overtones and relative intensities of these overtones thatare associated In making a characteristic cam for middle C of the violinI make use of a number of cams, each having a sine curve (simpleharmonic curve) as a periphery. Thus, in Figure 9 I have shown how thesecurves are constructed. A disk is divided into equal sections by radiallines and is also provided with equi-distant concentric circles. Thecurve is constructed by placing a dot on the inner circle on one of theradial linesI and then a second dot on the adjacent radial line and theadjacent con-I centric line, continuing in this manner around the circleand then connecting the dots to form the curve. About thirty of thesecams are used in a device similar to the mixer already described.Certain of these cams represent various tones that give thedistinguishable quality to the violin string of middle C. They arerotated at corresponding speeds and at certain predetermined adjustmentsof the uprights to secure individually relative amplitudes and theresultant wave is indicated on a disk 91 by a marker 30x similar to themarker 30 in Fig. 1, disk 91 being rotated in synchronism with the cams,by any suitable means. The disk is then cut or shaped in accordance withthe cam curve. One of these cams thus formed is provided for each toneto be sounded by any musical instrument, so that any combination oftones may be effected in the piece of music to be produced.

In Fig. 10 I have shown a cam which has one complete cycle or wave aboutits periphery. There are some instances in which the proper frictiondisk ratio cannot be had because of impractical diameters and in ,suchinstances the cams may have more than one cycle about their peripheries.

By employing overtones which may not appear in the tones of any musicalinstrument, or by varying the relative intensities (amplitudes) of thosethat do so appear, by means provided in the mixer, a cam may beconstructed to give a tone quality different from that of any knowninstrument.

In Figs. 11, 12 and 13 I have shown modified forms of the mixer whichmay be used in lieu of the plunger and tank arrangement shown in Figs. 1and 2. In Fig. l1 the ends of the arms 11 may be attached to pulleys Pand a cord C having one end attached at D is passed over stationarypulleys S secured to a beam or rod B. The free end E of the cord may beattached to a lever similar to that shown at 28 in Fig. 1 having themarking device 30. It will be obvious that as the ends of the arms 11move upwardly or downwardly in accordance with the movement imparted tothem by the tone cams there will be a resultant movement of the end Eofthe cord and .hence of the marking device similar to that effected bythe tank and plunger arrangement.

In Fig. 12 I have shown the ends of the arms 1i as attached to slidingcontacts K arranged to engage resistance elements R so that a downwardmovement in the figure will throw in more resistance while an upwardmovement will throw in less. The resultant current from the battery Ywill therefore depend upon the movements of the arms 11 in precisely thesame manner as that shown in Fig. 1 and this current may be used in anysuitable electromotive device (not shown) for controlling the movementof the marker.

In Fig. 13 the arms 11 control pneumatic devices H which are connectedvwith a common pipe F leading to a pneumatic device L. The amount offluid in the pneumatic device L and hence its movement will be theresultant of the movements of the arms and any suitable connection canbe made to this pneumatic device L to actuate the marker or beam oflight to record the resultant wave line upon the lm.

The resultant wave line on the film may be used in any sound producingdevice such as that used in connection with talking pictures. Thepresent process has many advantages over that in which this nlm waveline is produced when music is actually played. In the present process Ican make the amplitudes of the various waves as large as desired,whereas when the film wave is made in the ordinary manner there must beamplification and all distortion, extraneous noises or imperfections inthe ordinary process are magnified. In the present invention the wavemovements are not only not exaggerated but in many instances they areactually reduced so that the resultant film wave line is free from theobjections of distortion and will produce purer tones than a wave linemade by any other process of which I am aware.

The facility with which the amplitude of the wave movements and hencethe loud and soft effects are produced is also a feature of thisinvention which is highly important. In addition to this, thepossibility of producing tonal qualities in music which have never beenheard before and which are not known in any musical instrument, lend tothis process an advantage over any process in which instruments are usedto play music that is subsequently to be reproduced.

As I have before explained, the parts are synchronized and the roller81, the perforated tape- 76 and the automatic stop and starting key 88constitute the principal control to the mixer and its operation. Theselection of the cams and the variation of loudness is in accordancewith the requirements of the score as called for by the nuanced tape. Ascore has no interpretative qualities or interest. It is merely anotational method of indication by .the composer to the interpreter. Inthe present instance the interpreter is the nuanced tape and allrhythmic control of the mixer operation comes from the tape only. Thatis to say the holes and subdivisional markings on the tape dictate orcontrol the time element-When and how long-all the operations of themixer are to be carried on.

The mixer provides means, as stated, for auto'- matically or manuallystopping the motor and the synchronized mechanism. The nuanced tape isprovided with marks at places that are not lperforated and that do notactuate the automatic stopping attachment. By reversing the movement ofthe key 88, as by lifting it (in Fig. 4) the circuit of the motor N isbroken and the mechanism is stopped, thus permitting the shifting of theuprights 4, or the placing of one or more of the cams out of commissionor bringing one or more into commission, as the score demands.

It has been pointed out above how the changing of the fulcrums of thelever arms Will increase or decrease the amplitude, and thereby eifectloud or soft tones in the final production. In music one goes from loudor any degree of loudness to soft or any degree of softness, but morefrequently this transition is by degrees. In the construction set forthheretofore, the uprights 4 may be steadily and gradually moved certainpredetermined distances while the mixer is in operation in order toeifect changes gradually, decreasing or increasing in intensity.

It will be noted that in addition to effecting movements by the cams forthe tones of the score step by step, and regulating the duration andamplitude of these movements, periods of silence are provided for, asdescribed. These movements and silence periods are yderived from thenuancing. It is obvious therefore that in order to effect the productionof the best music by my process, the nuancing should be done by onehighly skilled in the art of conducting or interpreting.

I claim:

1. In a device for producing music, a plurality of cams, each cam havingits periphery shaped in accordance With a sound Wave of a pre-selectedtone, means for rotating said cams, means for transforming the rotarymovements of the cams into corresponding reciprocatory movements, andmeans for combining said reciprocatory movements into a resultantmovement.

2. In a device for producing music, a plurality of cams, each cam havingits periphery shaped in accordance with a sound Wave of a pre-selectedtone, means for rotating said cams, means for transforming the rotarymovements of the cams into corresponding reciprocatory movements, meansfor combining said reciprocatory movements into a resultant movement,and means for varying the amplitudes of any of said reciprocatorymovements at will.

3. In a device for producing music, a plurality of cams, each cam havingits periphery shaped in accordance with a sound wave of a pre-selectedtone, means for rotating said cams, means for transforming the rotarymovements ofthe cams into corresponding reciprocatory movements, meansfor combining said reciprocatory movements into a resultant movement,means for varying the amplitudes ofany of said reciprocatory movementsat will, a film, means synchronized with the cam-rotating means formoving the film, and means for recording said resultant movement on thefilm.

4. In a device for producing music, a plurality of cams, each cam havingits periphery shaped in accordance With a sound Wave of a pre-selectedtone, means for rotating said cams, means for transforming the rotarymovements of the cams into corresponding reciprocatory movements, meansfor combining said reciprocatory movements into a resultant movement,means for varying the amplitudes of any of said reciprocatory movementsat will, a film, means synchronized With the cam rotating means formoving the lm, means for recording said resultant movement on the lm,and means for automatically stopping the movement of the film and therotation of the cams. f

5. In a device for producing music, a plurality of cams, each cam havingits periphery shaped in accordance with a sound Wave of a pre-selectedtone, means for rotating said cams, means for transforming the rotarymovements of the cams into corresponding reciprocatory movements, meansfor combining said reciprocatory movements' into a resultant. movement,means for varying the amplitudes of any of said reciprocatory movementsat will, a film, means synchronized with the cam rotating means formoving the nlm, means for recording said resultant movement on the film,means for automatically stopping the movement of the film and therotation of the cams, and manual means for starting the synchronizedactuating means of the nlm and of the cams.

6. In a device for producing music, a shaft, a plurality of camsrotatably carried by the shaft, each cam having its periphery shaped inaccordance with a sound Wave of a pre-selected tone, means for rotatingsaid cams, a lever actuated by each cam, and means for combining themovements of the levers into a resultant movement.

'7. In a device for producing music, a shaft, a plurality of camsrotatably carried by the shaft, each cam having its periphery shaped inaccordance With a sound wave of a pre-selected tone, means for rotatingsaid cams at different predetermined speeds, a lever actuated by eachcam, and means for combining the movements of the levers into aresultant movement.

8. In a device for producing music, a shaft, a plurality of camsrotatably carried by the shaft, each cam having its periphery shaped inaccordance with the sound wave of a pre-selected tone, means including adriving and a driven friction disk associated with each cam for drivingthe cams at diierent predetermined speeds, a lever. for each cam, eachof said levers having one end engaged by its individual cam, and anadjustable fulcrum for each lever.

9. In a device for producing music, a shaft, a plurality of camsrotatably carried by the shaft, each cam having its periphery shaped inaccordance with the sound wave of a pre-selected tone, means including adriving and a driven friction disk associated with each cam for drivingthe cams at different predetermined speeds, a lever for each cam, eachof said levers having one end engaged by' its individual cam, an ad-.instable fulcrum for each lever, and means associated with the oppositeends of the levers for combining the movements of said opposite endsinto a resultant movement.

10. In a devicefor producing music, a shaft, a series of cams rotatablycarried by the shaft, each cam having its periphery shaped in accordancewith a sound wave of a predetermined tone, a plurality of levers, eachof said levers having one end arranged to be actuated by an individualcam of the series, an adjustable fulcrum for each lever, means forshifting the fulcrum of each lever longitudinally with respect to itsassociated lever. whereby the movement of the opposite end of the leveris varied, means associated with the opposite end of the lever forcombining the movements of the opposite ends into a resultant movement,a nlm, means for recording the resulant movement on the film,synchronized driving means for advancing the tape and for rotating thecams, and means for automatically stopping the driving means.

11. In a device for producing music, an electric motor, a film, a seriesof rotatably mounted cams, each cam having its periphery shaped inaccordance with the sound wave of a pre-selected tone, synchronizedmeans actuated by the motor for advancing the lm and rotating the cams,a series of levers oscillated by the rotation of the cams, meansassociated with the ends of the levers opposite the cams for combiningthe movements of the ends of the levers into a resultant movement, andmeans for recording the resultant movement on the film.

12. In a device for proucing music, an electric motor, a film, a seriesof rotatably mounted cams, each cam having its periphery shaped inaccordance with the sound wave of a pre-selected tone,

synchronized means actuated by the motor for advancing the film, androtating the cams, a series of levers oscillated by the rotation of thecams, means associated with the ends of the levers oppositethe cams forcombining the movements of the ends of the levers into a resultantmovement, means for recording the resultant movement on the nlm, aperforated tape, means for advancing the tape, and means controlled bythe perforated tape for automatically stopping the movement of the film,the cams and the tape.-

13. In a device for producing music, an electric motor, a nlm, a seriesof rotatably mounted cams, each cam having its periphery shaped inaccordance with the sound wave of a pre-selected tone, synchronizedmeans actuated by the motor for advancing the film, and rotating thecams, a series of levers oscillated by the rotation of the cams, meansassociated with the ends of the levers opposite the cams for combiningthe movements of the ends of the levers into a resultant movement, meansfor recording the resultant movement on the film, a perforated tape,means for advancing the tape, means controlled by the perforated tapefor automatically stopping the movement of the film, the cams and thetape, and means for manually starting the synchronized movement.

14. In a device 1 E the type described, means for effecting a pluralityof reciprocatory movements, each of said movements corresponding withthe sound wave of a pre-selected tone, and means for combining saidmovements `to form a resultant movement.

15. In a device of the type described, means for effecting a pluralityof reciprocatory movements, each of said movements corresponding withthe sound wave of a pre-selected tone, means for combining saidmovelnentsto form a resultant 105 movement, and means for recording theresultant movement on a nlm.

16. In a device for producing music, a plurality of cams, each camhaving its periphery shaped in accordance with a sound wave of apre-selected tone, means for rotating said cams, means for transformingthe rotary movements of the cams into corresponding reciprocatorymovements, means for combining said reciprocatory movements into aresultant movement, means for varying the amplitudes of any of saidreciprocatory movements at will, a iilm, means synchronized with the camrotating means for moving the film, means for recording said resultantmovement on the film, and means for manually stopping the movement ofthe nlm and the rotation of the cams.

FREDERICK ALBERT HOSCHKE.

